"When she taps, her feet conjure an expressive language that is more akin to singing than dancing." Lisa Jo Sagolla, Back Stage Magazine

"Diva Bufalino, wailing with her feet, plugged into the music, her primal rhythms invoked in her original tune 'This Is The Beginning' and 'Tribute to Charles Mingus' . . . whether gliding, sliding or vocally vamping this 60 year old makes it a syncopated walk in the park." Victoria Loosleaf, Los Angeles Times

"There is no doubt that Bufalino deserves the title 'Best Female Tap Dancer That Ever Lived'. In addition, she is one fine musician whose instrument happens to be her tap shoes. She is a splendid performer with a smoky singing voice that knows how to torch a lyric. She's a born story teller with a delicious sense of humor. She has style, charm and grace. The keeper of the tap dancer's flame, shone ever so brightly on last week on the stage of Schein Hall." Marsha Wagner, The Islander

"Brenda Bufalino is a star, a dancer of extraordinary subtlety. Her gravelly-voiced singing and patter is almost as engaging in 'Cantata and the Blues . . . Ms. Bufalino is an eloquent writer, and many of the best moments in her new 'Gertrude's Nose' grew from her evocative nature poetry. . ." Jennifer Dunning, The New York Times

"In addition to being a superb hoofer . . . Bufalino is a consummate musician." Cues-Astrida Woods

". . . In the more advanced, sophisticated styles of tap dance, in which the entire body is involved and the feet used as an improvisational instrument, hammering out complex patterns of sound, only a chosen few excel. Bufalino is unquestionably one of this select band. . . . those feet weave the most subtle rhythms, varying the volume of taps from delicate brushes of sound to a thunderous stomping. She digs into the music, underlines it, plays off against its varied tempi. How can one foot tap out a dozen crystalline beats in as many seconds? That's her secret. . . . " Lisa Jo Sagolla, Back Stage Magazine

"['Gertrude's Nose' is] a rapturous and kinetic mix of tap and vocals (both with and without poetic text) . . . described as a 'sound scape' for rhythm tap and vocalese. This piece went far beyond any traditional concept of dance, vocal or theatrical work. . . . Bufalino and Clayton managed to transcend each of these categories while using elements of them all. One could sense a meeting of master artists, bridging the gap between motion and sound." Mat Snyder, 5/4 Magazine